Seeking Advice on Moving to Bigger Comedy Clubs

Hi Dave – I hope you’re doing well! I’m reaching out for advice about when it’s the right time to start applying for MC spots at larger comedy clubs. I’ve made a conscious effort to stay grounded and not take on opportunities before I’m truly ready. While this approach has helped me grow steadily, I sometimes wonder if I’m being too cautious.

Recently, I won two comedy contests without bringing anyone or knowing anyone in the audience, which felt like a notable achievement. It’s given me some confidence, but I’m unsure if these wins mean I’m ready to approach bigger clubs or if there’s more I should do to prepare.

What’s your perspective on the right timing and readiness for making this leap? I’d greatly value your insights. Thanks so much – DC

Hi DC – Thanks for bringing up this great question—it reminds me of a close friend who moved too quickly into the bigger comedy clubs before he was fully prepared. Unfortunately, this misstep left him stuck in what I call “Bad First Impression Land.” In his case, this happened in New York City, where first impressions can make or break a career.

Here’s his story:

My friend had been doing comedy sporadically for about five or six years before I met him. At the time, I was managing a small comedy club in the Gramercy Park area and invited him to perform. From his first set, it was clear he had star potential. He completely tore the house down—the audience loved him, his material was strong, and he had a natural stage presence. It was obvious he had the skills and experience, which made me wonder why he was available to perform for free at a smaller venue on a prime Saturday night.

A few months later, I secured a major connection at one of New York City’s top comedy clubs. For context, this was the kind of club where just getting an audition could be career changing. Because of my connection, I could bypass the usual process and get my friend a guest spot—a potential golden ticket to becoming a paid regular.

Gimme one more chance!

To my surprise, my friend hesitated. He explained that years earlier, when he had only done a few open mics, he thought he was ready for the big leagues. After some initial crowd laughs at small venues, he assumed he was a natural and started auditioning at major clubs.

At the time, NYC clubs often used a lottery system for auditions. Comics would line up once a month, regardless of the weather—whether in sweltering summer heat or freezing winter temperatures. They’d draw from a champagne bucket filled with blank pieces of paper, with only about 15 containing audition numbers. If you pulled a number, you got your shot that night.

Unfortunately, my friend’s early auditions didn’t go well.

Lacking polished material and experience, he didn’t leave a strong impression. The club staff and bookers remembered him for those shaky performances, and his reputation was set. Even years later, when his skills had significantly improved, that first impression stuck and kept him from advancing in those venues.

At The Tampa, Florida Funny Bone

Saturdays – February 8, 15 and 22 from 12:30 to 4:30 pm

Includes a performance at The Funny Bone:

Wednesday – February 26

Space limited – pre-registration is required

For details, reviews, photos and to register visit ComedyWorkshops


This story serves as a reminder: moving too quickly can sometimes do more harm than good. It’s crucial to assess not only your readiness but also the lasting impact of how you present yourself at pivotal moments.

My friend learned the hard way about the importance of timing and preparation in comedy. Early in his career, he managed to pull audition slots at some of New York City’s top comedy clubs—a rare opportunity. Unfortunately, he had only performed three times before stepping into these high-stakes auditions.

Predictably, the results weren’t good. Without enough stage time or solid material, he bombed in front of some of the most influential club owners and bookers in the industry. Unlike the forgiving environment of open mics, where comics often perform for peers, this was a real audience with real expectations—and he wasn’t ready to meet them.

Years later, after he had developed his skills, I saw him perform and knew he was genuinely talented. I decided to use a connection to vouch for him at a major club. But when I approached the owner, the response was clear:

“Oh, I’ve seen him. He’s not very good. Use that guest set for someone we don’t already know.”

Even though his disastrous audition had been years earlier, the impression lingered. This is a cautionary tale about how a poorly timed first impression can derail future opportunities, especially in an industry where reputation matters deeply.

When Is It Time to Move to Bigger Clubs?

There’s no universal answer to this question—it depends on your readiness and how you compare to the comedians already working those clubs. Here are some key considerations:

  1. Avoid Getting Stuck in the Open-Mic Scene

Open mics are a valuable tool for building material and gaining stage experience, but they’re not an end goal. Too many comedians treat them as a social outing, prioritizing hanging out with friends over honing their craft. Potential working comics approach open mics with a clear purpose: to refine their material and build a set that bookers will want to pay for.

  1. Assess Your Readiness Honestly

To move up, you need to perform at the same level as the MCs currently working at the clubs you want to play. Be honest with yourself:

  • Are you consistently getting as many laughs as those MCs?
  • Do you have a polished set with reliable material that works for diverse audiences?
  • Have you gained enough stage experience to handle unexpected challenges during a performance?
  1. Know Your Local Scene

You should be familiar with the comedy landscape in your area:

  • Who are the MCs at the bigger clubs?
  • What kind of material and stage presence do they bring?
  • Are you performing at a similar level?

If the answer to these questions is yes, it’s time to start taking steps toward bigger opportunities.

 

Steps to Break into Bigger Clubs

  1. Participate in the Process

If clubs use a lottery system for auditions, start showing up. If they host contests with bookings as a prize, enter. Many clubs also accept video submissions, so ensure you have a professional-quality video on your website (you do have a website, right?).

  1. Use Your Network

Comedians in your scene will know who you are if you’re consistently delivering strong performances. If you’ve built good relationships, ask a trusted comic who works at the club to put in a good word for you. Be mindful, though—comics won’t risk their own reputation by recommending someone who isn’t ready.

  1. Build Experience Under the Radar

Before auditioning at major clubs, test your material in less visible venues where mistakes won’t damage your reputation. Open mics and smaller shows are excellent for building your skills until you’re ready to make a lasting first impression at a larger club.

Final Thoughts

Talent bookers are looking for professionals. Remember: They may call it amateur night, but no one is looking to hire and amateur. They’re seeking performers who can deliver consistent, professional-level performances.

To summarize:

  • Be honest about your readiness.
  • Build your material and experience in smaller venues.
  • Approach bigger clubs only when you’re confident in your ability to perform at their level.

A strong first impression can open doors, but a poor one can close them indefinitely. Take the time to prepare, so when the opportunity arises, you’re ready to leave a lasting positive impression.

Thanks for reading – and keep laughing!

Click on the banner below to sign up for Dave’s free newsletter.

For comments, questions about workshops and coaching please email – Dave@TheComedyBook.com

Same show, but different audience response

Hey Dave – You talked last week about audiences giving objective feedback. I did a five minute open-mic at The Improv that killed! People were coming up to me telling me I was the funniest of the 20 comics by far and that I was hilarious. Fast forward to last night at a different open-mic… Exact same set from The Improv – no change at all and NOTHING!! Not even a snicker or two. I was shocked. I thanked them for being so quiet while I practiced my comedy. Those nights are painful, but I know they are part of the process. I’m just amazed at the change from one crowd to another. – M

Hey M. – Every group of people has its own personality, just like individuals. Sometimes that personality will like what you do on stage and other times it won’t.

Can you change the channel?

It’s like the old saying: “You can’t please everyone.”

That’s one thing comedians and speakers need to realize. They’re not going to have one hundred percent of the audience love everything they say or do on stage. It just won’t happen – and I don’t care who the performer is.

An example I use about this in my comedy workshops involves Jerry Seinfeld…

I consider Seinfeld to be one of the top comedians not only of our time, but in the long history of comedy. Right up there with Richard Pryor, George Carlin and the other legends mentioned the most as influences by the working comics I’ve interviewed for my books. Seinfeld’s name starting creeping in during the success of his TV show and it’s stayed there.

I’ve been fortunate to see Seinfeld perform dozens of times. Mostly it was at the LA Improv when the TV show Seinfeld was still in production and he would stop by the club to work on new material. I was in the audience at The Cleveland Improv during the filming of his movie Comedian and have also seen him do a few theater shows.

Now THAT’s funny!!

The last time I saw him (theater show) he was GREAT!! He KILLED and it was positively the BEST show I had seen him do, at least in my humble opinion (do I really possess such a trait?). I laughed from beginning to end.

BUT on the way out of the theater, there were two couples walking behind us. One of the guys turned to the others and said:

“You should’ve seen him last time. He was a lot funnier than this.”

My jaw dropped in disbelief, but then I slammed it shut. Every individual has his own personality and opinions and obviously, this guy had one that was different than mine. It’s the same when a group of people get together.

An audience develops a personality.

You mentioned The Improv. It’s a known comedy club (for over half a century folks!) and people go there to see comedy. They are more supportive audiences than what you would usually find at an open-mic in a stereotypical neighborhood bar. You know the type I mean – the kind of place where the bartender shuts off the televisions and announces to his customers:

“It’s time for a little comedy.”

To put this into classic television perspective, imagine Sam Malone pulling that on the gang at Cheers in the middle of a Red Sox or Celtics game. Let’s just say that a bar-crowd audience will not be as supportive of a comedy night as an audience of comedy fans at The Improv.

Different audiences have different personalities.

Can you play both? An experienced comedian has a pretty good chance. A beginning comic needs to look at it as real life on-stage experience.

Sometimes you can’t do anything about it. Certain audiences (like people with certain personalities) will not like you no matter what you do. They’re not your crowd and it happens to everyone during the course of their careers. Imagine if you produced a show and your co-headliners were complete opposites when it comes to performing styles. Off the top of my head, I’ll go with Bill Maher and Carrot Top. Depending on who has the most fans in the audience, that comic will get more laughs than the other based on the comedy tastes of the majority of the crowd.

In other words, a big chunk of a performer’s success depends on the crowd’s personality.

Another off the top of my head example (for music fans) would have Taylor Swift co-headlining a stadium concert with The Rolling Stones. Half the venue might be empty for each act.

From watching more comedy shows than rock concerts, but also learning from both, some good advice when you’re having a difficult time is to try and engage the audience in your set more than you normally would. I’ve talked about this technique in earlier FAQ’s And Answers, but here’s a quick rerun…

Years ago, I saw one of the best comedy writers in the business perform his regular set at the Los Angeles Improv. From past experiences watching him many times before, his material was guaranteed to get laughs. I had never seen him bomb or ever had any expectations of seeing him bomb. But for some reason on this particular Friday night the crowd wasn’t laughing – at all.

So instead of chalking it up to a bad experience or blaming the audience and hoping his next crowd would be more receptive, this “material” comedian took the microphone out of the stand and started talking with the audience. He used all the old comedian tricks:

“Where’ya from?” and “What’da’ya do for a living?”

Next thing you know, he had engaged the audience. They were suddenly interested in what he was saying.

He had related to them.

Then (and this was the cool part) he stepped back, put the microphone back in the stand, and went into his usual material that I had seen work many times before. And this time – it worked again.

The audience laughed all the way through the remainder of his set.

Fall 2024 at The Cleveland Funny Bone

Saturdays – September 28, October 5 and 12 – noon to 4 pm

Includes an evening performance at The Funny Bone on Wednesday, October 23

Space limited. For details and registration visit ComedyWorkshops


After he got off stage, I talked to him about it (I was the talent booker and allowed to do that). He said – like every comedian – he had started out as an opening act. It’s what you need to do to be a good MC.

You must learn how to relate to and engage the audience. I hadn’t seen him do it before since he was already a headliner when we met. He hadn’t needed to rely on his MC / opening act skills at The Improv (the only venue where I had seen him) in a long time because his material was practiced and usually worked. But when it didn’t, he went back to what he learned at the beginning of his career, which was relating to the audience, and continuing until they’re with him.

Make sense?

You may not kill at every open-mic because of this great advice and the audience may not like you no matter what you do. But this will at least give you a fighting chance. Talk with the crowd, relate to them, find out what they’re interested in – and play off it. It’s like you’re the host of a party and it’s your job to greet everyone and make sure they feel involved. Make them feel like they’re a welcomed guest.

Once that happens you can kill them with your comedy.

If not, then you might have to admit they’re not your audience and move on. It’s sort of like being Taylor Swift at a Rolling Stones concert (or vice versa), or the guy walking behind me after the Seinfeld show. We definitely had clashing personalities that night, but you know me. I kept my (humble) opinions to myself… ha!

Thanks for reading – and keep laughing!

Click on the banner below to sign up for Dave’s free newsletter.

For comments, questions about workshops and coaching please email – Dave@TheComedyBook.com